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Let me offer a text for my paper. king should take history as his mistress (echoing the Ciceronian historia magistra vitae), for in this way, as that most learned of More's contemporaries, Guillaume Budi, wrote: A wise pnce can resemble Janus, who is represented with two faces seeing equally well forwards and backwards.' When one looks both forwards and backwards, the ironic and the prophetic may both be generated and brought into play, especially where there is the dissimulation of pretended ignorance and the semblance of inspired utterance. With clearer understanding of the ironic and the prophetic, we can move away from the purely biographical, or the still-curr?nt notion that Utopia is only ajeu d' esprit (what I would term the synecdochical fallacy: seeing a part for the whole), or reading the work as only political, or philosophical, or rhetonrcal, or whatever. Readers have rarely tried to look at Utopia as a whole, as a structure of relationships. I want to stress More's book as it appeared in 1516, considering it as both a visual and a verbal production, and then move to some of the parerga and Budes letter in particular. I shall conclude by offering additional possibilities that may enable us to look more fully, more clearly at More's multidisciplinary work as a whole.
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